Textile Structure
how cloth is put together
Concept

Pull-out — where it appears

Withdrawing a thread from a fabric against the friction at its crossings, which compounds along the gripped length rather than adding contact by contact. Its exponential form is what makes a fray width, a seam allowance and a tuft's bound length one arithmetic.

Named by 10 essays across 6 fields — each of them below, with the objects they name alongside it.

A thread withdrawn from a plain weave and from a satin. One pick of a sheeting being pulled from 1.60 mm of cloth, in a plain weave and in a five-end satin, at a friction coefficient of 0.30. The drawn width of each thread is the tension in it at that point, to a common scale; the faint rules are where the thread actually turns, which is at its interlacings and nowhere else. A plain weave turns 2.80 times per millimetre and a satin 1.12, so the plain weave's tension compounds 2.78-fold over this length against the satin's 1.46. What the drawing cannot show is that the wrap angle is taken from a plain-weave geometry in both panels: a satin's crimp is genuinely smaller, so its real turns are gentler than these and its grip weaker still.

A thread is gripped where it turns

The arithmetic this site has used for fraying, seam slippage and tuft anchorage counts every crossing a thread makes as a grip and adds them up. A thread lying flat on the surface of a satin presses on nothing at all, and a thread that is gripped is gripped by a friction that compounds along its length rather than adding. Both corrections were recorded as missing and both are here.

cloth · Contact Stick, slip, and the ratio between the two coefficients. The force in a thread as a cloth is agitated, with a static coefficient of 0.300 and a kinetic one of 0.225 — a ratio of 0.75, which is what fibre on fibre measures. The force climbs until it reaches the static limit, the contact breaks away, and while it is sliding it resists only at the kinetic limit. So a cloth that is being shaken can be left anywhere in the narrower band, and a cloth at rest anywhere in the wider one. What the trace cannot show is how much this buys: the band does not narrow in the ratio of the coefficients, because the restoring force stiffens away from the minimum, and the real narrowing is nearer 0.87 than 0.75.

Two coefficients, not one

Every friction on this site is a single number, and the account of why a cloth relaxes better when it is agitated depends entirely on there being two. Separating static from kinetic changes what a resting state is: a cloth at rest is held by one coefficient and a cloth being shaken by the other, and the band it can be left in narrows — by less than the ratio, because a cloth's restoring force is not linear in its extension.

cloth · Friction The size of the capstan correction. The ratio of the capstan crossover to the crossover a sum of independent contacts gives, for every cloth in the table at a friction coefficient of 0.30. It is exactly ln(1 + z)/z, where z is the thread's breaking load times the wrap angle, over the contact force — a quantity with no friction coefficient in it at all. That is why the earlier result that μ·L* is exactly constant survives this correction to twelve figures: μ was only ever in the factor outside the logarithm. The correction is largest for the duck, whose coarse strong yarn makes z large, and smallest for the batiste. What the rows cannot show is that a real cut edge frays at a friction nobody measured on that particular cloth.

How far a cut edge frays

A seam allowance, a fray width and a tuft's bound length are the same number wearing three hats, and the earlier estimate of it was four times too long. Correcting it moves the whole table across the boundary an ordinary allowance sits on — from four cloths holding and four slipping, to all eight holding — and turns a specification argument into a different one.

applied · Seams The crossover length in four weaves. The gripped length at which a pick of a sheeting breaks rather than slides, in four weaves at a friction coefficient of 0.30. It is a millimetre or two for a plain weave and 8.0 mm for an eight-end satin, which is what a cut edge of each does. The interlacing rate appears in the answer only as a factor outside the logarithm, so the ratios between the four are exactly the ratios of their interlacing rates — in this model and in the sum of independent contacts alike. The rung below expected the float correction to change that ordering; it does not. It changes the size, by a factor of 3.7. What the rows cannot show is that all four use one cloth's crimp, so a satin's genuinely gentler turns are not in them.

A float presses on nothing

The rung below expected the float correction to change how a satin's hold compares with a plain weave's, by something like the ratio of their interlacing rates. It does not change the comparison at all — the interlacing rate leaves the answer outside the logarithm and divides straight out of any ratio. What it changes is the absolute answer, by a factor of four, for every weave alike.

weaves · Float Hair, nap and pile are one construction at three settings. 12 mm of sheeting at one pair of scales, carrying each of this site's three protruding surfaces — 50 pixels to the millimetre along the cloth and 29 off it. They are the same object, fibre standing off a cloth with a density, a length and an anchor, and they differ by 9-fold in density and 4.8-fold in length. What actually separates them is the third line under each name: hairs are held by whatever the twist happened to leave, a nap by the float it was pulled from, and a pile by a W or a V through three picks. Only the last two were chosen. The pile's tufts are drawn in the float colour because that is what a woven pile is, and they are all one length because a blade cut them; the hairs and the nap are drawn as measured quantities and their lengths come from the population's own exponential. Each panel clips to the room it has, and the densest of the three is drawn at the model's own number rather than thinned.

Hair, nap and pile are one construction

This site now has three surfaces made of fibre standing off a cloth, arrived at from three different directions and in three different fields. They are the same object at three settings, and what separates them is not what they are but how much of them anybody decided.

fancy · Pile What a raising machine can catch in a 2/2 twill. The draft with every weft float long enough for a raising wire to lift marked on it. The teeth need an unsupported length of thread on the surface, so a cloth in which every thread is bound at every crossing offers them nothing at all — which is why a napped fabric is always a twill or a satin and never a plain weave.

What holds a nap in a knit

A fibre buried in a woven cloth breaks rather than slides once about thirty-four millimetres of it is held, and a cotton staple buries about fourteen. In a knit the same figure is over a metre — seventy-five times the burial available — so nothing is ever close, and a raised knit sheds for the whole of its life.

finishing · Nap What holds a thread in, as two factors. The two quantities whose product is the grip on a buried thread, for a woven poplin and a jersey of the same yarn. Each contact in the knit is lighter by 8.0 times, and the contacts are further apart by 5.6 — one per half loop length against one per thread spacing. They multiply rather than competing, so the grip per millimetre of buried thread is 31 times weaker in the knit, and the crossover length at which a thread breaks rather than slides moves with it: 11.6 mm in the cloth and 461 in the knit. The two factors are drawn separately because their product is two orders of magnitude and a bar chart of it would put the knit's bar below the width of a line.

The knitted pilling criterion gets its number

Knitwear pills and shirting does not, and the standing explanation here has been that a knit presents more exposed yarn under less pressure between its threads. The second half had no number. It has one now, and it is bigger than the argument needed: the grip on a buried fibre is thirty times weaker in a knit than in a woven cloth of the same yarn.

applied · Pilling A yarn is pressed on part of its length and free on the rest. The distance from each point of one course to the nearest point of the course below, for a 20 tex cotton jersey at a 3.5 mm loop, along two wales. It runs from 0.780 diameters at the worst to 3.81 at the freest, and 20% of the length is inside one diameter of its neighbour. The line at one diameter is where a round yarn would begin to overlap. What the profile says is that a single flattening ratio is an average: the section a yarn takes changes along its own length, which every racetrack section this collection has drawn assumes it does not.

A fabric is a population of contacts

Only a fifth of a knitted fabric's yarn is inside a diameter of its neighbour. So a fabric's friction lives in a fifth of its length, and every calculation this collection makes about withdrawal, slippage and fraying has assumed it lives everywhere.

cloth · Contact How hard a relaxed fabric presses on itself. The normal force at one crossing of a relaxed cloth, against the force at one interlacing of a relaxed jersey. The woven figures were recovered by inverting a thickness measurement through a compression energy; the knitted one comes from a solved shape and no measurement at all, so the two are genuinely independent rather than two readings of one number. Every cloth in the table presses harder than the knit — by between 5 and 22 times — and the knitted figure is an upper bound besides. One ratio is behind a list of differences usually explained separately: which fabric gives up a fibre end, which pills, which frays, which lets a seam slip.

What a loop presses with

A knitted loop hangs on the loop below it and presses on it with a force nobody has been able to state. Solved from the loop's own bending it comes to about forty millinewtons a stitch — an order of magnitude under a woven crossing's, by two independent routes that have nothing in common.

mechanics · Elastica A 100-gram bouclé in section, with the depth to its own load path. A bouclé cloth of 100 grams a square metre in section: the core and binder along the bottom, carrying everything, with the effect thread's loops standing 0.31 millimetres above them. The cloth's surface is the loops and nothing else — its loop envelope is 12.6 times its count diameter — so a rubbing surface meets effect thread first and reaches the core only after that depth. 60.7 per cent of the yarn's mass is effect thread on no load path and 39.3 per cent is core and binder. What the section cannot show is the third dimension: the loops of neighbouring yarns lie between these and are pressed by them.

A bouclé wears from the loops down

A cloth loses its strength before its mass, because a woven cloth's crowns are the very threads that carry the tension. A bouclé inverts it exactly. Its surface is its loops, its loops hang off a core that carries everything, and 61 per cent of its yarn is on no load path at all — so a rub takes three tenths of a millimetre of thread that does nothing before it reaches anything that does, and the cloth is ruined to look at while it is still as strong as it was woven.

fancy · Fancy yarn

Named alongside it

The objects these essays reach for when they reach for this one.

FrictionContact forceCapstanCrossover lengthFrayingFloatLoop lengthSpecificationHysteresisInterlacingNapPilling

All concepts